By Yael Levin (auth.)
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Extra resources for Tracing the Aesthetic Principle in Conrad’s Novels
Sample text
Following a long line of characters from Dante’s Paolo and Francesca through Don Quixote and Madame Bovary, Jim’s objective reality is usurped by the projection of an imaginary alternative born in romantic fiction. 24 Tracing the Aesthetic Principle in Conrad’s Novels With the collision, the “real nature” of Jim’s existence brutally intrudes, pulling him back into the world of harsh fact, a world most poignantly encapsulated in the courtroom. Here, too, however, Jim actively resists the “serried circle of facts that had surged up all about him” and attempts to find “some opening” (LJ, J 31) through which he may escape.
Such a solution begs the question of why Conrad wishes to baffle his readers by proposing, as an underlying assumption, that Conrad’s technique does not baffle at all. In the light of the critical controversy incited by the experimental handling of narrative viewpoint in this novel, it seems that Guerard’s reading disposes of a central aspect of Conrad’s evolving literary technique. The stylistic method in The Niggerr achieves not only an impressive coordination of theme and style but also a transition from the familiar to the unfamiliar, from the transparency of a nondramatized and unobtrusive narrative voice to the opacity of a representation that constantly draws attention to itself.
By focusing on the multifarious thematic motivations for the introduction of Marlow’s voice in chapter 5, we inevitably neglect the stylistic significance that underlies such a seismic shift in the narrative makeup. That is to say that by enumerating what are essentially the ethical ramifications of the otherwise-present representation of Jim, we fail to do justice to the aesthetic aspect of this shift. Although confessor, friend, father, and, conversely, an eyewitness whose analysis is prey to the pitfalls of a highly partial and motivated prism of interpretation, Marlow is also a narrative device, a tool needed to perfect Conrad’s art.
